Page:The New International Encyclopædia 1st ed. v. 04.djvu/317

CARTOON. 269 CARTRIDGE. ferred to the canvas or plaster on which the work is to be t'xeouteil, either by tracing with a. hard point, or by pricking with pins (a process called ■pouncing"), charcoal in botli cases being rubbed on the back of the drawing. In fresco (q.v. ) painting, the plaster on which the work is exe- cuted nnist be kept wet, in order that it may absorb the color, and consequently only a small portion can be executed at a time. For this rea- son, the cartoon must be traced in small compart- ments of the size that the artist can finish without stopping. It is here, consequently, above all, that the necessity for the previous execution of a car- toon is greatest, as it would be impossible to sketch the whole design on the plaster in the first instance. In weaving superior tapestries, like the gobelins, it is the present practice to cut out all the figures represented, which are always in color, and place them behind or under the wool. The great masters of the Renaissance used such studies in chiaroscuro as guides to them in almost all tlieir decorative works, and many of these monuments of tlieir care, as well as of their genius, have been preserved. They are quite as interesting, and often rise to the dignity of the fresco and oil work. The most celebrated surviv- ing examples of the fifteenth century are Andrea Mantegna's nine cartoons of the "Triumph of Julius Cipsar," long used as hangings in the ducal palace at Mantua, but now at Hampton Court. They are probably the artist's greatest achie%-ement. and represent more adequately the antique feeling of the Renaissance than any work of the century. Epoch-making in Italian paint- ing were the cartoons of incidents from the war with Pisa, painted in rivalry for frescoes in the Palazzo Veechio, Florence, by Michelangelo and Leonardo da Vinei. In neither case was the fresco completed, and the cartoons have been destroyed; but so great was their influence upon the younger artists, especially in the case of Michelangelo's, that they may be said to have revolutionized Florentine painting. The central feature of Michelangelo's cartoon was a group of bathing soldiers surprised by the enemy, of Leonardo's a fierce battle over a standard. Less imjiortant in the history of painting, but equally well known oy reason of their survival, are the cartoons which Raphael designed, at the command of Leo X., for the twelve tapestries of the Sistine Chapel. Of the originals^ depicting scenes from the lives Df Christ and the apostles, seven survive in the South Kensington Museum: they were j)urchased by Rubens for Charles I., saved by Cromwell, who commanded that they should be purchased for the nation, and preserved from neglect by William III. Among the best subjects are "Paul Preaching at Athens." Christ Delivering the Keys to Peter," and The Miraculous Draught of Fishes." In conception and design they belong to the very best work Raphael ever created. Of the tapestries woven in Flanders after these de- signs, one set is in the 'aticari. and part of an- other in the Rerlin Museum. Others of Raphael's cartoons, for the most part in repainted condi- tion, survive; of especial interest is the beautiful design for the "School of .thens" in the Ambro- siana, Milan. There are four good examples by Oiulio Romano in the Louvre, and cartoons by Italian painters of the seventeenth century, nota- bly the Carracci and Domenichino. also survive. Owing to the disuse of fresco-painting at the present daj-, cartoons are but seldom produced. At the beginning of the nineteenth century, liow- ever. the school of Munich, founded by Peter von Cornelius, was essentially a school of cartoonists. Its leaders almost confined themselves to this work, leaving the execution of tlie frescoes to their pupils, much to the detriment of the color. Besides Cornelius, whose best cartoons, notably the "Apocalyptic Riders," hang in the Berlin Museum, the greatest cartoon-painter of the school was Kaulbach. Con.sult especially the biographies of the artists mentioned above. The name 'cartoon' is also applied to full-page sketches in journals and other publications, mostly of a comic nature. See the article Cari- cature. CARTOUCH, kiir-tooch' (Fr. cartouche, It. cartoccio, from Lat. carta, paper). A military term for the cartridge pouch or box carried liy soldiers of the French Army. The amnuinition- pouch of the British soldier was formerly known as a cartouch. The name originally described a wooden case containing from two to three hun- dred musket-bullets, and eight or ten one-pound balls, fired from a mortar or howitzer in the defense of a ditch or intrenchment. CARTOUCHE, kiirtoosh'. A term used by the French for certain oval ornaments or shields employed in art and architecture. The word is perhaps best known as the technical term for the oval frame with a sort of handle which in- closed the names of Egyptian kings in hiero- glyphic inscriptions. Originally it was the hiero- glyph for the word ran. 'name.' The term is sometimes applied to modillions or brackets sup- porting a cornice. CARTOUCHE, kar'tnnsh', Lons Domixiqit: (1693-1721). The leader of a band of robbers and assassins, whose crimes created terror in Paris. For many years he eluded the police, but at last was arrested, and after a long trial, which aroused a great deal of interest, was sentenced to death, and broken on the wheel at Chatelet. His life afforded the basis for numer- ous plays. Consult ilaurice. Cartouche, histoire aiithentirjue (Paris. 18.50). CAR-TRANSFER BOATS. See Ferry. CARTRIDGE (corrupted from cartouche). The wliole or a portion of the charge for a fire- arm put up in a bag or case. A cartridge for small arms consists of a brass cartridge-ca.se filled with powder and fitted with a primer and having its ojien end closed by the bullet, which is firmh' crimped in place. BALL CVttTRlDOE FOR .45 CALIBRE ePRINOFIELD RIFLE (C. 8.). a, lead bullet; l>, charge of black powder (later, smoke- less); c, solid head case; d, primer. The first cartridges were designed for mvizzle- loading small arms, where projectile and charge were tied together and inserted in one bundle. For many years prior to the Civil War. small arms were furnished with cartridges containing ball and charge in paper which was torn and the powder poured into the bore, followed by the ball. Similar cartridges were used with the first breech-loaders, but the escape of gas out